Does the wall-to-wall lineup of jukebox musicals dominating New York stages this season make you feel like cursing? Direct your angry thoughts toward the creators of “Mamma Mia!,” that goofy Broadway show from 2001 about a Greek island wedding, with a score consisting entirely of recycled Abba hits.
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It is certainly clear that the past 2 decades or so has seen the rise of the jukebox musical. It's even possible that this will be a defining characteristic of this era when historians look back on the early 2000's. As the article notes, some people feel that these musicals are the 'cockroaches' of the business, but I think they can have a lot to offer. The first broadway show that I saw was "Jersey Boys", probably one of the more iconic hits of this sub-genre, yet I still was enamored by what I saw on stage even though I wasn't particularly attached to the music of Frankie Valli or the Four Seasons. Nevertheless, It is a bit curious the sudden boom of popularity up in New York, to the point where it is dominating most theaters in midtown. While some may think that the jukebox musical is a stain on musical theatre, one thing is for sure: it sells tickets very well. For some audience members, the chance to sit in a theater, listen to their favorite hits, and laugh along the way is the perfect way to spend a weekend trip to NYC (it certainly was the case for my summer stock's production of 'Mamma Mia' at the beach, who wants to think hard on vacation?).
In the same way that a couple years ago the big hype around rock musicals being the new generation of the "modern musical". This means one of two things, a new genre has made its way to the big broadway, or it means that theatre is slowly dying out and the genre of musical theatre has downgraded. As the article points out, in many ways the addition of pop to a broadway musical has made theatre more tangible for audiences that wouldn't traditionally watch a show, but when they love artists like ABBA and Alanis Morissette, audiences will come flocking to see the music they know and love interweaved in a plot. It can start getting really cheap though, in shows like the Cher Show, where the entire bio-musical is just a love letter to Cher and basically a talent show with all your favorite Cher bangers, it starts to feel like a concert not a compelling story.
As the article points out, jukebox musicals are dominating broadway right now. Personally, I do find them enjoyable and sensational. It’s fun to watch popular songs being performed on stage. However, I do agree with the article that these popular musicals undermine compelling storytelling. More often than not, these pop musicals have an unrealistic and obscure storyline. it’s hard to really be immersed in the story because they are not about something real. There’s no universality in the story that allows people to relate to it. Authentic storytelling can be found in plays but cannot be found in formula-driven musicals made to purely entertain. But I think it’s important to remember that we shouldn’t look at these jukebox musicals with such negativity. While they may lack artistry, they do achieve their job which is to entertain. And once in a while, we may find a jukebox musical that does great musical numbers and tells a compelling story at the same time. Like the article said, we should keep an open mind when watching them.
I love Mamma Mia, and I love Beautiful: A Carole King Musical. That's where my appreciation for jukebox musicals ends. Though, I would love to see Aint Too Proud, I'm tired of jukebox musicals. And honestly, I don't know why they keep opening. The Cher Show did poorly on Broadway, while shows with creative and original storylines thrive. Often the actors are incredible. Jessie Mueller was amazing as Carole King and Stephanie J. Block's Tony for her portrayal of Cher was well-deserved. However, actors can be excellent standing alone in a role, but that doesn't make the show good. So, yes, jukebox musicals make a lot of money initially, but most of them are done poorly and don't make a lasting impact on Broadway as a whole. Jukebox musicals that are memorable are the ones that have been done well, like Mamma Mia and Jersey Boys. I hate to see Broadway turning into a place where shows are put on with the sole purpose of making money. Money is important in this industry, but it should come second to the art. I will say, however, I'm very excited for Jagged Little Pill and hope it doesn't ruin one of my favorite albums for me.
Jukebox musicals haven’t had much of an appeal to me (especially after having a personally traumatic relationship with the musical Footloose). I’ve found the reuse of pre-established songs to be tired and corny. That being said, I’ve always been a strong believer in there are no bad ideas for stories, only bad execution. This article provides a defense for the mentality I hold. Writer Ben Brantly explain having a distaste for these kinds of musicals, but also understands compelling stories can be told using this format, examples being Moulin Rouge! and Girl From the North Country. Perhaps jukebox musicals aren’t as original as a typical Broadway production, but that doesn’t mean it is completely void of substance and entertainment. There are still talented people involved in their creation and their efforts shouldn’t be shunned away based on preconceived notions. It’s something I will keep in mind the next time I see a show like it.
Jukebox musicals are safe. They’re a surefire way to sell tickets (for a couple months, at least) and a safer bet to producers than groundbreaking new work. They come with a built-in fan base, and there’s immediate name recognition that doesn’t come with the more avant-garde pieces that occasionally make their way to Broadway. Ultimately, Broadway is a business, and producers like to know that their investment will have some return, even though Broadway remains one of the riskiest investments possible. That being said, the article does note that there are differences between the many jukebox musicals that have risen to prominence. Some, such as Beautiful & Jersey Boys, use an artist’s music to tell the story of its writing; others, such as Mamma Mia and All Shook Up, insert an artist’s music into a new (or repurposed) storyline. And then Moulin Rouge incorporates over 70 artists’ music into a story originally seen on the big screen. Jukebox musicals are a good way to broaden the appeal of Broadway to traditionally non-theater-goers, but they run the risk of cheapening the standards of Broadway.
To agree with some of my colleagues before me, jukebox musicals have a certain kind of value and provide a pull to bring in new audiences to this incredible world of live theatre, but they do walk the line of art and business in a way that can feel like an insult to those who spend their lives (and tuition money) attempting to build worlds and ideas that are completely new and utterly creative. This flood of jukebox musicals is a complicated situation. It has the pros of bringing in that new audience, but when they are created so quickly and thrown onto the broadway stage simply to generate a profit, it is a hard slap in the face to the incredible, and under-appreciated, new works that are thrown to the curb because somebody just really loves Cher. We all love Cher. But we don't need to spend our money on a musical about her life when we could just go see her in concert. Don't worry, Cher will never die. She hides the secret of immortality in her cheekbones, which are too high for any mere mortal to reach. She will never stop performing, I promise. Spend your money and your time supporting new original works with more important messages.
I can agree with the fact that jukebox musicals are taking over broadway; however I don't think it is the fault of Mamma Mia. I think there's a difference between musicals like All Shook Up, Mamma Mia, and Jagged Little Phil, compared to The Cher Show and Tina Turner musical. At least Mamma Mia and All Shook Up put a new story to songs, bringing some new content to Broadway. The reason that I am so frustrated by Broadway right now is that nothing is original content, and it all seems to be geared toward the average consumer, or trying to pull in audiences, not create art. That's obviously how broadway is a lot of the time but its even more prevalent when we're getting life stories of already celebrated and iconic stars. It's especially discouraging when original shows have to close to put these jukebox musicals in their place.
Okay, first of all, I just have to say that this article’s title is perfect. Secondly, I have to admit that I am a huge Mamma Mia! fan. Thirdly, and this may be a contradiction, but I am not the biggest fan of most jukebox musicals. I understand why shows like Jersey Boys incorporate the music of their subjects into the show. It makes sense for a person pretending to be Frankie Valli performing in a Four Seasons concert to sing “Walk Like a Man”. That, to me, enhances the story of how the band gained success. On the other hand, shows like Mamma Mia! that just throw existing songs into a storyline do not really impress me (again, I really like Mamma Mia!, so I feel pretty bad right now). I realized how I felt about jukebox musicals after I saw a clip of Clueless, The Musical. That movie is iconic, and when I heard that it was being adapted into a musical, I was so ecstatic about its potential. I expected the same dramatic energy as Mean Girls and Heathers. However, that excitement died when I watched a promotional clip of the actors singing a duet to “She’s So High”. I believe that there are certain circumstances where the inclusion of existing songs are necessary for a musical’s plot. However, there are definitely some jukebox musicals out there that would have been better enhanced by original songs.
Is it just me, or does a jukebox musical seem like more trouble than its worth? Though I don't have experience with writing a score or a script, it seems to me that trying to create a show within the limitations of a specific album or artist might be more work than if you were able to write freely. This might be why so many of them seem to flop or feel forced. I love Mamma Mia, but I have to agree with Brantley that it seems to be the source of an unpleasant string of creations, many of which are unnecessary in my opinion. At a certain point (that I think we have reached) the existence of a jukebox musical stopped being about appreciating an artist's songs or conveying the messages behind them, but instead to draw audiences in with familiar music and a predictable storyline. On the other hand, I can't say that I am completely against the use of existing music within musicals; the thought of some of the great mainstream singers and artists of today working to create theatrical scores does give me a bit of excitement. The issue then becomes an interest in theater and taking time away from their personal careers. There's a fine line between utilizing the talents of musicians and their songwriters and letting them run away with theater, but I think this might be the time to try it out.
The first thing that comes to mind when I hear the words “Juke Box Musical” are the reasons why non theatre people hate musicals. “But why do they just get up and sing! It doesn’t make sense!”. However, Ben Brantley makes an interesting point about the timing of the hit ABBA Musical, Mamma Mia. Mamma Mia opened in 2001, following the September 11th attack that occurred. At that time people needed something that was light, and happy in a moment of pain especially in Manhattan. That being said, today musicals such as Moulin Rouge and musicals based off of pop artists such as Bob Dylan and Carol King draw in a wider scope of audience members that want to go to the theatre to feel good. However, there is also a large crowd of people who want to go to the theatre to see shows that make them feel uncomfortable, comment on society as a whole and spark thought. Personally, I like jukebox style musicals but feel so much more fulfilled and inspired when I leave a theatre questioning the world around me. From a managment and business perspective it is important to find that balance in order to get people in seats and keep Broadway a sustainable industry.
Although juke box musicals, or pop musicals as said here, can seem fairly trivial, I believe they have an important role in entertainment. Juke Box musicals are wonderful because it is a way to experience some of your favorite music in a new environment. It is usually fun, upbeat and exciting. I think there is a place for that on Broadway, but I also believe we need to distinguish that from a original Broadway show. Original Broadway shows are so important to the theatre industry, the arts and overall culture. When most people go to buy a ticket, they just see the titles of the shows, but I think it's important to note that when you go see a Juke Box musical, you get a feel-good, expected night where as if you go to a new musical, there is so much more to be discovered. Of course, I am always in favor of any show which creates jobs and brings the outside world's eye to the theatre industry.
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